题目内容
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The story does not say this, but from what we have read, we can tell that ______.
A．you get much hungrier in space than you do
B．you can't have water to drink in a spaceship
C．astronauts must learn many new and different things
D．you can't eat anything in a spaceship
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更多“The story does not say this, b…”相关的问题
The question is: what is science fiction？ And the answer must be, unfortunately, that there have been few attempts to consider this question at any length or with much seriousness; it may well be that science fiction will resist any comprehensive definition of its characteristics. To say this, however, does not mean that there are no ways of defining it nor that various facets of its totality cannot be clarified. To Begin, the following definition should be helpful: science fiction is a literary sub-genre which postulates a change (for human beings) from conditions as we know them and follows the implications of these changes to a conclusion. Although this definition will necessarily be modified and expanded, and probably changed, in the course of this exploration, it covers much of the basic groundwork and provides a point of departure.
The first point ——that science fiction is a literary sub-genre ——is a very important one, but one which is often overlooked or ignored in most discussions of science fiction. Specifically, science fiction is either a short story or a novel. There are only a few dramas which could be called science fiction, with Karel Capek's RUR (Rossum's Universal Robots) being the only one that is well known; the body of poetry that might be labeled science fiction is only slightly larger. To say that science fiction is a sub-genre of prose fiction is to say that it has all the basic characteristics and serves the same basic functions in much the same way as prose fiction in general ——that is, it shares a great deal with all other novels and short stories.
Everything that can be said about prose fiction, in general applies to science fiction. Every piece of science fiction, whether short story or novel, must have a narrator, a story, a plot, a setting, character, language, and theme. And like any prose, the themes of science fiction are concerned with interpreting man's nature and experience in relation to the world around him. Themes in science fiction are constructed and presented in exactly the same ways that themes are dealt with in any other kind of fiction. They are the result of a particular combination of narrator, story, plot, character, setting, and language. In short, the reasons for reading and enjoying science fiction, and the ways of studying and analyzing it, are basically the same as they would be for any other story or novel.
Science fiction is called a literary sub-genre because ______.
A．it is not important enough to be a literary genre
B．it cannot be made into a dramatic presentation
C．it shares characteristics with other types of prose fiction
D．to call it a "genre" would subject it to literary jargon
M: I'm sorry I know nothing about your story.
what does the man mean？
A．He thinks it interesting.
B．He thinks it dull.
C．He hasn't seen it.
【C12】______ we choose the right kind of books, reading gives the 【C13】______ kind of pleasure. Some books we read simply for pleasure and 【C14】______ -- for example, good novels. And novels and books of imagination must have their 【C15】______ in everyone's reading. When we are tired, or the brain is weary with 【C16】______ study, it is a recreation to 【C17】______ ourselves in some absorbing story written by a 【C18】______ hand.
But to read nothing but books of fiction is like eating nothing but cakes and sweetmeats. 【C19】______ we need plain, wholesome food for the body, so we must have serious reading for the 【C20】______ . And here we can choose according to our taste.
【C1】
A．custom
B．tradition
C．habit
D．convention
People in the small village have never heard of ______before.
A．so a shocking story
B．a so shocking story
C．so shocking a story
D．a such shocking story
What can we learn from the story？
A．Both the man and his wife were football fans.
B．Neither the man nor his wife liked the game.
C．The man's wife didn't like any football games.
An Organization that Supports the Arts
Aside from perpetuating itself, the sole purpose of the American Academy and Institute of Arts and Letters is to "foster, assist and sustain an interest" in literature, music, and art. This it does by enthusiastically handing out money. Annual cash awards are given to deserving artists in various categories of creativity: architecture, musical composition, theater, novels, serious poetry, light verse, painting, sculpture. One award subsidizes a promising American writer' s visit to Rome. There is even an award for a very good work of fiction that failed commercially--once won by the young John Updike for The Poorhouse Fair and, more recently, by Alice Walker for In Love and Trouble.
The awards and prizes are total about 750,000 a year, but most of them range in size from 5,000 to 12,500, a welcome sum to many young practitioners whose work may not bring in that much money in a year. One of the advantages of the awards is that many go to the struggling artists, rather than to those who are already successful. Members of the Academy and Institute are not eligible for any cash prizes. Another advantage is that, unlike the National Endowment for the Arts or similar institutions throughout the world, there is no government money involved.
Awards are made by committee. Each of the three departments----Literature (120 members), Art (83), Music (47)-----has a committee dealing with its own field. Committee membership rotates every year, so that new voices and opinions are constantly heard. The most financially rewarding of all the Academy - Institute awards are the Mildred and Harold Strauss Livings. Harold Strauss, a devoted editor at Alfred A. Knopf, the New York publishing house, and Mildred Strauss, his wife, were wealthy and childless. They left the Academy -Institute a unique bequest: for five consecutive years, two distinguished (and financially needy) writers would receive enough money so they could devote themselves entirely to "prose literature" (no plays, no poetry, and no paying job that might distract). In 1983, the first Strauss Livings of 35,000 a year went to short -story writer Raymond Carver and novelist- essayist Cynthia Ozick. By 1988, the fund had grown enough so that two winners, novelists Diane Johnson and Robert Stone, each got 50,000 a year for five years.
Which of the following can be inferred about Alice Walker' s book In love and Trouble？
A．It sold more copies than The Poorhouse Fair.
B．It described the author' s visit to Rome.
C．It was a commercial success.
D．It was published after The Poorhouse Fair.
Section B
Directions: There are 2 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A, B, C and D. You should decide on the best choice.
Movie directors sometimes shoot two endings to a film, undecided about which to use until the very last minute. In the Casablanca everyone knows, Ingrid Bergman leaves Humphrey Bogart, but in another ending Bogart got the girl.
In some ways, it feels like we're in the middle of a movie made by some deranged(疯狂的) economist, and we don't know yet if we're going to get the happy ending or the sad one. Does the rise of India and other developing countries supercharge(提高) global growth, or will all the new competition pull down wages in the industrialized world？ Is this period going to be titled The Bright Dawn or The Big Squeeze？
Certainly for workers in the industrialized world, the latest signs are troubling. Profits seem to be outpacing wages just about everywhere. As a result, from Japan to the U.S. to Europe, labor is getting a smaller share of the economic pie. The numbers are pretty straightforward: In Japan, the share of national income going to workers dropped from 53.1% in 2001 to 51.1% in the year ending with the first quarter of 2005. In the U.S., the employee share of gross domestic income dropped from 58% to 56.8%. In Western Europe, workers' share of national income dropped from 51.7% in 2001 to 50.5% at the end of 2004, before bouncing up a bit in the latest quarter.
An obvious—and pessimistic—explanation for this broad decline is the intensification of global competition, forcing formerly privileged workers in advanced countries to accept a lower standard of living. Harvard economist Richard Freeman has argued that the entry of China, India, and the former Soviet countries into the global economy has effectively doubled the size of the world's workforce. As a result, labor is relatively abundant, capital is relatively scarce, the returns to labor go down, and the returns to capital go up.
"Having twice as many workers and newly the same amount of capital places great pressure on labor markets throughout the world", writes Freeman. That "shifts the balance of power in markets toward capital, as more workers compete for working that capital."
This is the unhappy ending to the global economy story. However, the numbers are also consistent with another, much more upbeat(乐观的)ending. It could be that corporate restructuring efforts in Japan and Europe are finally taking hold, leading to higher profits and faster productivity growth, even as U.S. companies continue their efforts to boost efficiency. And it could be that there's just a lag before the productivity gains get passed on to workers in the form. of higher wages.
So, will we get the happy ending or the sad ending？ There's no way of telling yet—but hey, what fun is a movie with a predictable ending？
Similar to the story in the movie Casablanca, the world economy______.
A．is experiencing dramatic changes
B．is set in complicated political factors
C．involves fierce competition between different parties
D．is developing into two possible opposite directions
Section B
Directions: There are 2 passages in this section. Each passage is followed by some questions or unfinished statements. For each of them there are four choices marked A, B, C and D. You should decide on the best choice.
Movie directors sometimes shoot two endings to a film, undecided about which to use until the very last minute. In the Casablanca everyone knows, Ingrid Bergman leaves Humphrey Bogart, but in another ending Bogart got the girl.
In some ways, it feels like we're in the middle of a movie made by some deranged(疯狂的) economist, and we don't know yet if we're going to get the happy ending or the sad one. Does the rise of China and India supercharge(提高) global growth, or will all the new competition pull down wages in the industrialized world？ Is this period going to be titled The Bright Dawn or The Big Squeeze？
Certainly for workers in the industrialized world, the latest Signs are troubling. Profits seem to be outpacing wages just about everywhere. As a result, from Japan to the US to Europe, labor is getting a smaller share of the economic pie. The numbers are pretty straightforward: In Japan, the share of national income going to workers dropped from 53.1% in 2001 to 51.1% in the year ending with the first quarter of 2005. In the U.S., the employee share of gross domestic income dropped from 58% to 56.8%. In Western Europe, workers' share of national income dropped from 51.7% in 2001 to 50.5% at the end of 2004, before bouncing up a bit in the latest quarter.
An obvious—and pessimistic—explanation for this broad decline is the intensification of global competition, forcing formerly privileged workers in advanced countries to accept a lower standard of living. Harvard economist Richard Freeman has argued that the entry of China, India, and the former Soviet countries into the global economy has effectively doubled the size of the world's workforce. As a result, labor is relatively abundant, capital is relatively scarce, the returns to labor go down, and the returns to capital go up.
"Having twice as many workers and newly the same amount of capital places great pressure on labor markets throughout the world," writes Freeman. That shifts the balance of power in markets toward capital, as more workers compete for working that capital.
This is the unhappy ending to the global economy story. However, the numbers are also consistent with another, much more upbeat(乐观的) ending. It could be that corporate restructuring efforts in Japan and Europe are finally taking hold, leading to higher profits and faster productivity growth, even as US companies continue their efforts to boost efficiency; And it could be that there's just a lag before the productivity gains get passed on to workers in the form. of higher wages.
So, will we get the happy ending or the sad ending？ There's no way of telling yet—but hey, what fun is a movie with a predictable ending？
Similar to the story in the movie Casablanca, the world economy______.
A．is experiencing dramatic changes
B．is set in complicated political factors
C．involves fierce competition between different parties
D．is developing into two possible opposite directions
Why does the author mention a dog's bark？ ______
A．To exemplify poor memory.
B．To analyze a type of interruption.
C．To compare human memory with dog's memory.
D．To illustrate the lack of efficiency of rote rehearsal.
Perhaps the uniqueness of America's contribution to the 【27】______ can best be characterized through brief descriptions of several of the most important and best-known musicals. One of these is surely Oklahoma by Richard Rogers and Oscar Hamerstein. It burst 【28】______ popularity in 1943. Broadway audience and critics were 【29】______ by its 【30】______ , vitality and excitement. This "new" type of musical was 【31】______ as kind of 【32】______ theater in which the play, the music and lyrics, the dancing, and the scenic background were assembled not merely to provide entertainment and 【33】______ , but to 【34】______ in a single unifying whole to contribute to its unique feature. 【35】______ , it meant that the songs and dances should 【36】______ naturally out of the situations of the story and play an important part in carrying the action 【37】______ . In Oklahoma, an American folk-dance style. was organically combined with classical ballet and modem dance. It is fight to say that the musical was a brilliantly integrated performance by the talented dancers and singing actors.
Oklahoma also marked a new 【38】______ in the choice of story on which a musical is based. Writers and composers began to abandon the sentimentally picturesque or aristocratic setting 【39】______ more realistic stories in authentic social and cultural 【40】______ Oklahoma was based on a "folk" whose story dealt not only with young love but also with the opening of the American West.
【21】
A．number
B．amount
C．quantity
D．numbers
What does Olson think about mass production？
A．It's capital intensive.
B．It's property intensive.
C．It relies on individual labor.
D．It relies on individual skills.
